This piece is from a few months ago at one of our portrait drawing sessions. When it’s plein air season, I’m usually painting outdoors. But I love to get back to painting the figure because it teaches me to really “see” my subject matter, whether it’s a face or a forest.
Capturing a good likeness of a person demands that I actually study every single aspect of their countenance. Its so easy to resort to the idea of what a nose or eye looks like instead of what I actually perceive in front of me. When I paint a portrait, I constantly re-evaluate the proportions, the values, the light and shadow, continually morphing the sketch toward a more realistic view of the model and her position in space.
Are you looking for some original cards to send this holiday season? Or maybe you’d like a stash of note cards to send for any occasion or to give as gifts? The images below are available as single cards or in bulk quantities. Mix and match as you like! Contact me and I’ll get them right out to you. (All prices are plus taxes and shipping where applicable.)
1-5 cards: $2.00 each 6-20 cards: $1.90 each
21-40 cards: $1.70 each 41-60 cards: $1.60 each
61-80 cards: $1.50 each 81-100 cards: $1.40 each
HAPPY THANKSGIVING ALL!!!
Every once in a while I receive requests for paintings of corporate buildings. I accept them glady, both for the financial benefits and the painting challenges they provide. I now paint in watercolor, gouache, pastel and oil and my clients can choose from any of those mediums.
LimnoTech in Ann Arbor, Michigan had a special anniversary coming up and the employees wanted to give the owner something special to commemorate it. They contacted me in the fall, but requested I take research photos in the springtime when their work site sparkled with flowering crab trees. The building itself was rather nondescript, except for the interesting entryway. I visited the site 3 or 4 times, at different times of day, to catch the dynamic shadows created by the arches framing the main doors.
I presented them with 4 or 5 different cropped views for consideration and was happy with their choice. I gridded up the photo onto a 300 lb. watercolor paper and started with a clean, even gradation for the sky. I always begin there because if the sky doesn’t come out right, it’s very difficult to “fudge it” later. Then I slowly started laying in the lightest colors first, slowly building layers until the darkest areas are added at the very end. Exactly opposite of the way I deal with pastel and oil paintings.
Happy to report that the employees were very pleased with the outcome, as was the owner!
For years I’ve wanted to attend Plein Air Magazine’s fabulous Annual Plein Air Convention & Expo. It’s the world’s largest gathering of plein air painters attracting nearly 1,000 participants. Some of the best painters in the world are recruited to teach classes and demonstrate in many different mediums and styles. There’s an unbelievable hall full of discounted art supplies (SIGH…), an exhibit space filled with gorgeous work, and plenty of time to paint outdoors, interacting and learning from fellow artists.
But for various reasons, including conflicting schedules, tight funds and family responsibilities, I’ve never made it out west to be a part of the 5-day event. But this year is different.
I was contacted by the Convention faculty coordinator and was asked to be a demonstrating artist and field painter in the Pastel Track!
I am so honored, excited (and not a little nervous) to be included in this painting extravaganza! If you’ve got a couple days open in April you might want to consider going. Its supposed to be an amazing experience and we could paint together!
I just sent in my photos and painting images so I doubt they are up yet but you can check out all the info about the convention here: http://pleinairconvention.com/